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Acknowledgements | ||
Introduction | 1 | |
1 | The French Revolution and the English Popular Novel | 11 |
2 | 'Distorting Mirror?' - Images of Prussia-Germany in English Prose, 1890-1914 | 21 |
3 | Fiction of the First World War and the Problems of Criticism | 45 |
4 | No Man's Land in Between: Im Westen nichts Neues and Her Privates We | 53 |
5 | The Structure of Frederic Manning's Her Privates We | 77 |
6 | In the Midst of Beastliness: Concepts and Ideals in Manning's Her Privates We | 91 |
7 | Basic Attitude and Enemy Images in the Representation of the First World War by Remarque, Hemingway, and Celine | 105 |
8 | Projections of Everyman in Franconi, Williamson, and Wiechert: The Popular Hero, the Lowest Common Denominator, and The Wounded Heart | 121 |
9 | The Front Line and the Hinterland in French First World War Prose | 155 |
10 | Object Symbols, Structure and Meaning in Mr. Britling Sees It Through | 175 |
11 | Novels of the First World War and German Literary Criticism, 1933-1938 | 191 |
12 | A War of Certainties: 1939-1945 in British Fiction | 209 |
13 | Between Morike and Brecht: Aspects of Committed Poetry | 225 |
14 | Comrades? - The Enemy as Individual in First World War Poetry | 241 |
15 | Transcendent Visions of Renewal in First World War Literature | 253 |
16 | Tambimuttu's Poetry in Wartime | 265 |
17 | The Historical Poem: General Approaches and a Sample Analysis: Aragon, "Les lilas et les roses" | 283 |
18 | Jon Silkin's "The Coldness" | 293 |
19 | The Role of Literature in Humanising the World | 303 |
Notes | 319 | |
Index | 379 |
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